Claude, The Mill
Full title | Landscape with the Marriage of Isaac and Rebekah ('The Mill') |
---|---|
Artist | Claude |
Artist dates | 1604/5? - 1682 |
Series | The Bouillon Claudes |
Date made | 1648 |
Medium and support | Oil on canvas |
Dimensions | 152.3 × 200.6 cm |
Inscription summary | Signed; Dated and inscribed |
Acquisition credit | Bought, 1824 |
Inventory number | NG12 |
Location | Room 36 |
Art route(s) | B |
Collection | Main Collection |
Previous owners |
According to an inscription on a tree stump in the centre, this painting shows the marriage of Isaac and Rebecca described in the Old Testament book of Genesis. The couple dance with tambourines, surrounded by other figures reclining and enjoying the festivities. The flat landscape and expanse of water stretching far into the distance are imaginary, but inspired by the countryside around Rome, where Claude spent most of his life. Claude’s landscapes often included a mill and town in the background, under a naturalistic sky. Although a tower is also a common feature, this was the emblem of painting’s original owner, the duc de Bouillon (1605–1652).
This work and its pair Seaport with the Embarkation of the Queen of Sheba, painted in 1648, were among the first paintings to be bought for the National Gallery in 1824.
The subject of this painting is only identified through an inscription on the tree-stump by the group of reclining figures in the centre. It is the marriage of Isaac and Rebecca from the book of Genesis (24: 1–67). The couple are dancing with tambourines, surrounded by others enjoying the festivities. The flat landscape and expanse of water stretching far into the distance are imaginary, but inspired by the landscape around Rome. Claude spent most of his working life in the city, and made frequent trips to sketch the surrounding countryside. The mill and a town in the background and naturalistic sky are common features of Claude’s paintings.
The picture, with its pair Seaport with the Embarkation of the Queen of Sheba, was painted in 1648 for Frédéric-Maurice, duc de Bouillon. Unlike its pair, this painting does not include the patron’s name, although the subject of a wedding may have interested the duke as he was happily married to Eléanor-Catherine de Bergh. A round tower appears in both paintings. Although commonly found in Claude’s works, this was an emblem of the duc de Bouillon – his family name was De la Tour d’Auvergne (the Tower of Auvergne). The paintings escaped seizure during the French Revolution despite Bouillon’s successor, Jacques-Léopold Charles, being imprisoned in 1794 and his property confiscated.
During the early nineteenth century, the English banker John Julius Angerstein purchased both paintings for the very high sum of £8,400. They were among the first works to be bought by the National Gallery in 1824 from Angerstein, whose house was near to where the Gallery now stands. Claude’s renown among later artists is shown by the fact that when J.M.W. Turner bequeathed to the Gallery his Sun rising through Vapour and Dido building Carthage, he made it a condition that they were hung next to Claude’s two paintings.
Another version of this composition also by Claude in the Galleria Doria-Pamphilj, Rome, is known as ‘The Mill’. The subject of the painting and identity of the patron would have been unclear to a seventeenth-century audience as this version has no inscription.
Download a low-resolution copy of this image for personal use.
License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library.
License imageThis image is licensed for non-commercial use under a Creative Commons agreement.
Examples of non-commercial use are:
- Research, private study, or for internal circulation within an educational organisation (such as a school, college or university)
- Non-profit publications, personal websites, blogs, and social media
The image file is 800 pixels on the longest side.
As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. Help keep us free by making a donation today.
You must agree to the Creative Commons terms and conditions to download this image.
The Bouillon Claudes
Two paintings by Claude, Seaport with the Embarkation of the Queen of Sheba and Landscape with the Marriage of Isaac and Rebecca, are known as the ‘Bouillon Claudes’ because they were made for Frédéric-Maurice, Duc de Bouillon (1605–1652), a French general in the papal army in Rome. They were completed in 1648 and remained in the Bouillon family throughout the eighteenth century. They even escaped seizure during the French Revolution, despite Bouillon’s successor being imprisoned in 1794 and his property confiscated.
Although documents survive to tell us these paintings were commissioned as a pair, the scenes belong to different biblical stories. They are, however, harmonious in the subjects they depict. Each explores the relationship between men and women, whether during a wedding celebration or because of a journey that brings friendship. There is a contrast between the bustling urban seaport and the peaceful countryside. The central activity of each painting is framed by either buildings or trees, with the sea or a substantial river in the background.
Two paintings by Claude, Seaport with the Embarkation of the Queen of Sheba and Landscape with the Marriage of Isaac and Rebecca, are known as the ‘Bouillon Claudes’ because they were made for Frédéric-Maurice, Duc de Bouillon (1605–1652), a French general in the papal army in Rome. They were completed in 1648 and remained together in the Bouillon family throughout the eighteenth century. Despite their large size – they are two metres wide – and fame during this time, they escaped seizure during the French Revolution when Bouillon’s successor was imprisoned in 1794 and his property confiscated.
These two works are the same size and explore complementary themes, although the scenes belong to completely different biblical stories. Each picture explores the relationship between men and women, whether during a wedding celebration or because of a journey that brings friendship. There is a contrast between the bustling urban seaport and peaceful countryside. The central activity of each painting is framed by either buildings or trees, with the sea or a substantial river in the background.
Drawings of both of these paintings were included in Claude’s Liber Veritatis (Latin for ‘Book of Truth’) a collection of his drawings which represents all the paintings he made. This book makes it possible to know which paintings are genuine works by Claude and which ones were painted by his followers or forgers.


More paintings by Claude










